Another really organized approach. Thanks, Don. I like the notion of working through the different strategies so you have a vocabulary at your fingertips depending on the circumstances, and also having a great solo to quote (assuming one can accomplish this great solo). I clearly have work to do. val
On Nov 10, 12:25 pm, Don <[email protected]> wrote: > What I like to do is work out some rough sketches for various > possibilities of what I could play rather than a totally memorized > solo. Then I have some ideas I can draw on depending on the > feeling/emotion I have for the song at the time. I can play the > straight/embellished melody. I can play down in the first position and > use open strings for a bigger sound. I can play up the neck out of > doublestop positions (find the melody up in a closed position and > embellish). I can play something notey out of the pentatonic (say it > ain't so). I can play a tremolo break. I can play something bluesy. I > can play a Monroe style break out of chop chord positions. If I've > worked out all these ideas, I really know the song and I can use one > or more of these ideas to come up with something appropriate and > coherent. > > If there's a highly recognizable solo for the song already, ie > Monroe's break for "I'm Going Back To Old Kentucky", then I'm going to > learn that and play it note for note for at least one of my breaks. -- You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected]. To unsubscribe from this group, send email to [email protected]. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
